Synthetic Video

• Greed

Created by Joe, Jacklyn, Minna and Yuyao Greed (2023) is a film that explores the lifestyle of a social media livestreamer, and the impact greed can have on the use of a new technology.

Greed (2023) depicts the journey of its live streaming protagonist through a three act structure. Establishing the protagonist’s career as a live streamer that relies on brand-affiliated promotion, we see them advertising a detox pill, inciting accusations of misrepresentation through the use of a filter applied to the live stream. This results in the banning of their account, reflecting on aspects of uncertainty that the use of synthetic media can induce when not properly disclosed.

A mysterious takeout arrives, and a device capable of creating food based off of prompts written on paper is introduced. Utilising audio foley, the group engages viewers in the sequence of their protagonist experimenting with different prompts to receive different foods. The use of this device as a parable for the misuse of generative AI programs, especially for financial gain, is apt as it reflects the skills required to utilise generative AI to create synthetic media; as well as the experimentation necessary to create prompts that effectively instruct the AI to create the intended results.

• Tare

The film Tare (2023) created by Spring Li, Danielle Atherton, Mark Cheng and Nam Tran explores the concept of synthetic realities enabled by AI machines and their ability to impact people’s sense of identity. Through the integration of synthetic media, as well as well written dialogue, the group explores the potential for technology’s place in the creation of a personal identity.

The group creates a narrative surrounding Rose, their protagonist who has recently gone through a breakup. The use of synthetic media in the creation of segments of Rose’s personality reflects the groups intended concepts of self actualisation through engagement with these technologies. Tare (2023) consists of dialogue between these segments of Rose’s personality and herself, through these exchanges Rose reflects on her past and her relationships, with the AI segments providing different perspectives on Rose.

Overall, Tare (2023) uses synthetic media as a plot device to convey the potential for AI within everyday life, by providing sophisticated interpretations of personal experiences, the segments of Rose’s personality aid her on her journey to self actualisation and romantic fulfilment. However, the harshness of these personality segments depicts a technology system that has the potential to cause significant psychological harm.

Uncomfortable Film Making

• Do Geese See God

A film by Phoebe Hewertson, Jaden Arendtsz and Joey Barclay Do Geese See God (2023) is about a dysfunctional man who is disconnected from those around him. The group uses colour, time reversal, and clever shot choreography to achieve a sense of disconnectedness, and unease in their audience.

Through the actors ability to walk backwards, the group captured several sequences of their protagonist seemingly walking against time. The choreographed scenes as well as the non linear storytelling the group engage with creates an overwhelming sense of discomfort when watching whilst producing visually distinct imagery throughout the piece. Furthermore, the colour grade contributes greatly to this by creating a darker version of a familiar place, taking the audiences on a journey through the reimagining of everyday life.

This sense of unease permeates Do Geese See God (2023), and as a unit I believe the group effectively answered their studios prompt. The film reimagines familiar locations incredibly effectively, and allows viewers the chance to see common experiences from a completely different perspective.

• Level 19

Level 19 (2023) is a film directed by Llyod Fitzgerald, created for the Uncomfortable Film Making studio. It explores a young professional’s traumatic experience after responding to an email inviting him to a strange event.

Fitzgerald uses many different techniques to create a sense of unease through his camera work, editing and sound design. The shots change from relatively still and evenly framed shots to dramatic Dutch Angles and tracking shots as the protagonist Max becomes disoriented throughout the narrative of the piece. The sound design similarly becomes fractured and is utilised alongside editing techniques to depict the culmination of the impact of the nights events on Max’s psyche

The use of these techniques alongside the surreal narrative, succeeded in my opinion, in creating a sense of unease throughout the piece. The camera techniques combined with the use of colour correction, and special effects created a visual narrative that was easy to follow as the audience follows Max through his night of terror.

The final twist of the narrative also provides the audience with a relief to this unease, using comedy to allow viewers to laugh at the absurd situation Max had been placed in. Fitzgerald ends his piece with a sense of levity making the piece memorable, as well as juxtaposing the palpable disorientation viewers were experiencing moments before.